News: Tagged as FF Netto
More than half of the world's population live in major cities. Developed by Lend Lease, The Green Building Converter is a sustainability tool that takes users on an interactive journey allowing people to navigate and learn about green building development. Daniel Utz’s clean and rounded geometric FF Netto strikes the perfect typographic balance alongside the 3D diagrammatic pictorial renders and animations throughout the site and brand identity communications.
Last week, Berlin hosted Jüdische Kulturtage 2013 (“Jewish Culture Days”), Germany’s largest festival of Jewish art and culture. The diverse programme of culture, music and literature features the four basic weights of Mitja Miklavčič’s FF Tisa Sans for headlines through to body copy across the site as well as festival collateral.
Designed and curated by Ryan and Tina Essmaker of Designing Monsters, The Great Discontent is a journal of interviews focusing on creativity, risk and what connects people as artists. A simple, clean, responsive and impeccably editorially considered site, the choice to use Erik Spiekermann, Christian Schwartz and Kris Sowersby’s FF Meta Serif as body is a great complement to “The Great Discontent”.permalink
Type is typically one-color. Of course, after it’s set, a user can manipulate letters with a texture or a gradient; but out of the box, a font is usually capable of a single color. This is where layer fonts change the game. With glyphs that are designed to be overlaid on top of each other, layer fonts make it easy to apply multiple colors and other effects without extra steps or leaving the comfort of your typesetting or layout app.
Multi-layered type is not a new concept. “Chromatic” wood fonts for printing large headlines in two or more colors were common way back in the mid-1800s. Polychromatic type continued to be readily available in the photocompositing era when graphic designers sent their text to specialized typesetters to do the precision work required to line up the layers. When digital type took over, there was a noticeable lull in layered type. There were few chromatic fonts available, and making them work was now the complicated and tedious task of the designer who was suddenly given the additional role of typesetter.
But now, thanks to new typefaces (and rediscovering some old ones), better software, and time-saving tricks made possible by OpenType, chromatic type is back! Just a casual glance at graphic design blogs or Pinterest boards is enough to see that layer fonts are in fashion again.
There are plenty of interesting and useful multi-layer typefaces in the FontFont library — it may surprise you to learn we have more than 50 families with layering capabilities (even some Free FontFonts like FF Pullman and FF Koko) — but they are often overlooked because online samplers are optimized for standard, single-layer type. So let’s take a closer, multicolor look at a few and see what they can do.
What Can Layer FontFonts Do?
Make things pretty.
The most obvious use of type layers is to add decorative elements in multiple hues. A variety of FontFonts take advantage of layers to enhance their display qualities, from playful to grungy. Here are a few:
What Can Layer FontFonts Do?
Add depth and dimension.
One of the more powerful benefits of layers is transforming type from an element that simply sits on a surface to one that has a three-dimensional shape of its own. A single layer font with built-in shadows or faceting can only go so far in simulating depth. With a layer FontFont like FF Primary you can use color to give each surface an appropriate shade, making the type pop off the page or recede into stone. Over at the FontShop blog, David Sudweeks wrote a good tutorial on using FF Primary (and most other layer fonts).
What Can Layer FontFonts Do?
FF Kipp, inspired by a worn set of wood type, is one of the most popular typefaces with a rough, weathered contour. Still, users often overlook its layer variations which can make it an even more convincing emulation of imperfectly printed or painted letters. The extra fonts in the set offer a variety of degradation when overlaid over the base fonts. These extras can also be colored slightly different than the bottom layer resulting in an uneven, painterly effect.
What Can Layer FontFonts Do?
Give text meaning.
Layers aren’t only useful for visual appeal. Among the many smart tricks in FF Mister K are scribble, strikeout, and underline features that can enhance the meaning of text all while staying true to the informal handwritten aesthetic of the typeface. The OpenType-powered annotations are easy to apply, work with words of various lengths, and of course offer the ability to easily adjust coloring. Read more about how to use FF Mister K’s special effects in this info guide.
What Can Layer FontFonts Do?
One of the graphic designer’s often encountered but seldom discussed challenges is overlaying readable type on a photograph or video. This is particularly tricky when the background has varying values of light and dark. Common hacks include drop shadows and strips of color, but it’s often more engaging when the element backing the type is in harmony with the typeface. This is where FF Jigger shines. Because there are separate fonts for front and back, each can be colored independently. And because it’s type, changes to content or color are easy to make.
What Can Layer FontFonts Do?
Maps, infographics, UI design, and wayfinding systems ask a lot of iconography. To get the work done efficiently, icons must be easy to apply, easy to edit, and easy to change. That’s why working with symbol fonts makes so much sense. FF Netto Icons and FF Dingbats 2.0 offer frames and backgrounds to enable icon customization. Because these icon and border elements are separate characters they can each be colored separately. In FF Netto, key in the desired frame, apply its color, then key in an icon to align it perfectly inside the frame. FF Dingbats 2.0 uses an OpenType-powered layering feature to allow coloring of multiple elements in each pictogram without switching fonts (see above). Read more about this and the packages other features at the official FF Dingbats 2.0 site.
Using Layer FontFonts on the Web
You don’t need to limit your layer typography to print and images. Our friends at Typekit have written a simple CSS tutorial on using layer fonts in web design. For his article, Tim Brown demonstrates a chromatic typeface revived from the wood type era, but the technique will work with Web FontFonts like FF Prater Block, FF Advert Rough and parts of FF ThreeSix too.permalink
A brand new design ideal for modern devices, two long awaited and highly anticipated extensions and a whole host of language updates and new Office and Web versions – say hello to FF 61, our latest release.
FF Videtur is based on bitmap fonts that were created by Axel Bertram, one of East Germany’s most legendary designers, for the state television broadcaster GDR-TV. Bertram spent a great deal of time researching and testing the display conditions of 625-line television screens. His findings prompted the creation of Videtur, a functional open serif with moderate contrast and a highly unique shape. Fast forward two decades later and with a helping hand from FontFont’s Head of Type, Andreas Frohloff, the whole character set has been completely re-drawn and reinvigorated. The best characteristics of the earlier forms were kept but the typeface’s vertical proportions, serif shape, and stroke contrast have been carefully reconsidered.
Revamped, new weights and new language support
We are delighted to introduce the new completely revamped and updated FF Netto. Daniel Utz’s no frills spurless sans serif has been one of the FontFonts of choice, particularly on the web, ever since its release back in 2008. The new FF Netto has slightly increased spacing, revised curves and connections and two new extreme weights, the delicate and sinewy Thin and the confident and chunky Black. As if this wasn’t enough, Daniel Utz with help from the Type Team have also added new italics for all weights and Pro language support.
Language extensions and format additions
Our entire Premium Tier is now available in Pro, Offc and Web formats. So, now you can bring consistency and typographical finesse in more languages and across more applications/platforms.
New: FF Chambers Sans Pro
New: FF Disturbance Pro
New: FF Enzo Pro
New: FF Magda Pro
New: FF Speak Pro
New: FF Super Grotesk Pro
New: FF TradeMarker Pro
New: FF Transit Propermalink
Have you ever wanted to own something that was truly ‘out of this world’? Thanks to a new venture, Treasures from Space, you can now purchase your very own piece of heaven, brought down to earth. Their website sells authenticated elements that have fallen to our planet from outer space. The company relies on our very own FF Netto typeface for its visual identity.
Treasures from Space uses FF Netto both in print and online. Something of a reduced, space-aged design in its own right, FF Netto really shines in this multi-media branding application. We caught up with Adrian Friis, who explained his thinking behind choosing FF Netto:
‘Treasures From Space was launched late 2011 by meteorite collector Morten Bilet and graphic designer Adrian Friis. We wanted to put real space artefacts in the hands of people of all ages – young and old. We decided early on that high-quality and engaging packaging and marketing materials would be a key factor in giving our quirky product wide spread market appeal. To market the product, a strong brand identity would also be needed, and FF Netto was chosen for its utilitarian and contemporary look that works well for copy-text, the logo and in charts, diagrams and infographics. In addition, we were looking for a typeface that could also be specified via Typekit for our website and FF Netto has served our purposes very well both online and in print.’
FF Netto’s letters are monolinear, but also look simple and honest. They almost appear as if they could have been constructed out of wire; in a way, this makes it reminiscent of the old NASA logo. Perhaps this association subtly played a role in its selection for this identity.
About FF Netto
The award-winning FF Netto is 21st century sans serif family designed by Daniel Utz. Starting from the idea to develop a no-frills typeface with as little historical ballast as possible, Utz reduced letterforms to their characteristic basic shapes, removing all dispensable details. FF Netto uses its own geometric construction principle, giving balance to the design as whole. The FF Netto family also includes a series of icons and arrows. These symbols are useful when typesetting text for information and orientation systems. Their weights and size are adjusted to match their respective alphabets.permalink
Typographic diversity – A new era for web design
BERLIN, GERMANY, February 2010
A more diverse and beautiful web is about to unfold. The latest release of the FontFont® typeface library marks the beginning of a new era for typography – FSI FontShop® International is introducing the first ever stand-alone FontFonts for the web. Finally web designers can use professional typefaces for their projects without relying on system fonts or webfont services. This long-awaited step enables a more seamless and effective transition from print design to the web. More than 30 of the most successful FontFont families are available now as Web FontFonts, including FF DIN®, FF Meta®, FF Dax®, and FF Kievit®. More will follow soon.
The ISTD International TypoGraphic Award is the only international design award that specifically recognize typographic excellence across a broad range of design disciplines. The quality of work entered, and the reputation of companies and individuals taking part, is an expression of the status of the Awards.read more
BERLIN, GERMANY, November 2009 – FSI FontShop International announced the latest additions to its award-winning FontFont® typeface library.
The new FontFonts
FF Mach™ The very first sketches of FF Mach were drawn in 2004 when a colleague who planned a new Polish magazine about culture and arts asked Łukasz Dziedzic for a logo – there was neither time nor money, so he did it quickly and for free. The logo was met with approval and Łukasz was asked for some sample covers and a few days later for the whole layout – again immediately and free of charge. Łukasz agreed with mixed feelings, thinking this might be a chance to use some of his fonts and even make a new one based on the logo and title graphics. The new font worked well but unfortunately, after the magazine failed three months later, it was never used again until Łukasz decided in 2008 to redraw all the glyphs in order to remove the traces of that speedy work, and in the end he designed a complete new type family with six weights and three widths.
FF Masala™ is as unctuous as a curry sauce with a hint of chili to add zest. Xavier Dupré’s initial idea for FF Masala was to offer a casual Sans matching FF Tartine Script. After rethinking and refining, FF Masala became a truly casual type system with three Sans weights and their Italics plus three powerful Script versions with swashes, right for logos and packaging as well as comics or children’s book covers.
These are the latest additions (release 46) to the FontFont library:
New FontFonts and extensions
FF Chambers Sans OT by Verena Gerlach – Verena Gerlach’s experiment with oppositional styles resulted in this combination of static grotesque forms and the dynamic forms of a traditional antique typeface. The weights and italics are finely balanced so that it is especially suitable for setting books, but its frugal originality is also appropriate for use in large sizes like in poster design. The type family contains a range of alternate characters, small caps, ligatures, and (in the Regular weight) swashed initials, making it a versatile typographic tool.
FF Enzo OT 1 by Tobias Kvant – Inspired by a variety of styles, both past and present, FF Enzo is a lively multi-weight sans serif. Its extremely large x-height, and short ascenders and descenders make it a powerful headline face, ideal for magazines, posters and such, but it will work fine for body text as well. The family includes italics, tabular figures and four sets of small figures. FF Enzo is the first major typeface from Sweden’s Tobias Kvant, yet it demonstrates a great deal of understanding and skill. We expect to see more in the future from this fine young talent.
FF Max Pro 3 by Morten Olsen – It’s always been popular, but Morten Olsen’s FF Max is due for a major resurgence in today’s design landscape of square forms and rounded edges. The typeface is as fresh now as it was when it was released five years ago, and now it’s even more flexible thanks to two new weights at either end of the family: Extra Light and Fat.
FF Netto OT by Daniel Utz – With FF Netto, Daniel Utz has stripped letters of any historical detail, leaving them with the barest, clearest forms possible. This makes FF Netto ideal for wayfinding, where quick recognition is essential. A series of simple and useful icons and arrows add to its utility for information design, and intelligent borders let you group the pictograms using just a few keystrokes.
[ Link missing ] by Fred Smeijers – A new FF Quadraat Sans weight: Bold Italic
FF Trixie HD Pro Light by Erik van Blokland – Since its release in 1991, from “The X-Files” to “Atonement”, FF Trixie has served as the defacto typeface of mystery and intrigue. For years, it was the most convincing typewriter font available, but FontFont veteran Erik van Blokland was not satisfied. Early printing and operating systems could only handle so many points per font, so FF Trixie’s outlines weren’t as realistic as he wanted. Enter OpenType. Now that technology has caught up with his vision, Van Blokland has thrown everything he can at it. The new FF Trixie offers Rough variations that have more detail for use at larger sizes, yet keep the same overall shape as the originals. But the real advancement is found in FF Trixie HD, which contains seven alternates for each character, each with its own weight and texture. Just like typewritten forms, the letters dance on the baseline and reveal the effect of ink on the ribbon. Van Blokland didn’t stop there. Playing with OpenType’s ability to automatically substitute glyphs, he added a variety of clever effects such as more erratic baseline shifting, faux Greek and Cyrillic, and censor simulation. FF Trixie HD sets a new standard for detail and artificial intelligence. We can safely say no digital font comes closer to emulating a mechanical typewriter. The OT package contains all the features above. Go Pro for CE, Greek, and Cyrillic support.read more